If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

I'm not a good enough musician to like completely master something in a couple of days and turn it around.

I have been very fortunate in that I'm not doing all network shows or all cable shows, television has really become a year-round process in the way that it's made.

Tension, especially with regard to horror, is a very difficult thing to sustain in the big sense.

When you change showrunners, it's like getting divorced and getting remarried.

If I were doing five cop shows, I'd probably start struggling to find an identity for each one and struggling to find inspirations.

The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.